Review: Showing The Same Resilience As The Characters Within The Story, A CHORUS LINE Finally Opens In Sydney

Wednesday 16th February 2022, 7pm, Drama Theatre Sydney Opera House

Like the determined dancers that feature in its story, Director and Choreographer Amy Campbell's A CHORUS LINE has pushed through the multiple pandemic related setbacks to finally open at Sydney Opera House's Drama Theatre. The seventh longest-running Broadway show ever, Marvin Hamlisch (Music), Edward Kleban (Lyrics) and James Kirkwood Jr and Nicholas Dantes' (book) musical retains a relevance almost half a century after it premiered in in 1975.

Devised from workshop sessions that Michael Bennett (Original director, choreographer, and concept) and dancers Michon Peacock and Tony Stevens held with Broadway dancers, A CHORUS LINE follows a day of auditions for chorus dancers for a new unnamed Broadway musical. Demanding director Zach is looking for four boys and four girls for a 1930's inspired production and must whittle down the 24 dancers by the end of the 'day'. After the first cut leaves him with 17 to choose from, his unconventional audition process sees him demand that each share something about themselves, particularly how and why they've become dancers. Childhood traumas, insecurities, prejudices, and fears are unearthed as the dancers of varying ages, backgrounds, body shapes and ethnicities are forced to open up or risk not being selected for the ever-decreasing number of roles available in a Broadway show, something that still rings true in musical theatre. They are confronted with the question of why they want to stay in an ever more competitive industry where it is highly unlikely they will ever be recognised as individuals or well compensated for their commitment and talent. They are challenged with the realisation that their career could be taken from them with a slip of the knee or a twist of the ankle, but they show a fortitude and determination through it all.

As the audition process is for dancers, the hero of the work naturally remains dance with the medium of song, though being the main way of conveying the stories, being somewhat secondary. Campbell's choreography is high energy and incorporates classic 'chorus line' and musical theatre stylings to pay homage to the work's 1970's origins while infusing the work with contemporary styles to give this production a modern twist. The ability to get talented dancers to deliberately present a slightly off-time and imperfect opening sequence when the audition candidates are learning the steps, as is the process for auditions, is notable and necessary to highlight the shift from the 'start' of the day to those that survive the first cut and those that make it to the final eight.

The focus on dance sees the energy channeled into the choreography rather than the sound design of the work which relies on a prerecorded backing track, a somewhat unusual choice for a musical of this scale, to support the vocals, leading to problematic sound balance issues that are often set too loud for the performers to sing over leading to the need to also turn up the body mics and overblowing the top notes and making it a challenge to hear Edward Kleban's lyrics. The premise of the story being that each character is presenting their story to Director Zach, imagined to be positioned in a fixed central spot in the auditorium, fits with the older styles of musical theatre direction where performers would 'sing to the exits' but the newer expectation of performers 'engaging' with the audience makes this single point focus somewhat distancing for most of the characters, altering the ability for the audience to connect with the individuals.

Standout performances come from Angelique Cassimatis, Rechelle Mansour and the pairing of Ross Chisari and Suzanne Steele. As Cassie, Cassimatis' dancing demonstrates the experienced dancer's passion, precision and commitment to her art that has drawn her back to the chorus line after solo roles have become scarce. Her expression ensures it is clear how Zach had once seen Cassie as more than a chorus dancer and sought to elevate her to a soloist, though that relationship is long in the past. Mansour's feature as Val, the talented dancer that decided she needed the services of the "Wizard on Park and Seventy-Third", strikes a balance between the presentation to a single focal point of where Zach is imagined to be positioned and connecting with the wider audience. While other characterisations often felt constrained, Mansour ensures that her performance feels intuitive and not forced, giving an honesty and naturalness in the delivery that demonstrates a connection to the character and a belief that, even though she is a stunning young woman, she could relate to Val's problems on some level. Steele and Chisari, as married couple Kristine and Al deliver the delightfully amusing Sing!, exhibiting a warmth and chemistry through the comic number while ensuring that each have distinctive personalities.

The theatre and live performance industry has taken a severe hit during the pandemic and caused many shows to close or be rescheduled, making the number of roles available even more scarce than the 'normal' shift from big cast productions to increasing instances of doubling or completely reducing roles. It is wonderful to see a theatre company take on a production of this size that requires a large cast of performers though the choice not to engage a live orchestra or band does affect the sound design of the work. While hopefully audition rooms have become safer spaces that don't demand that people expose their traumas in front of strangers, it is understood that there is still a truth and relevance in A CHORUS LINE. Veteran performers are still lining studio corridors alongside young newcomers to vie for the handful of roles on offer, all hoping that they have the look, style and skill that the director is looking for. Part of every performer's development of a character involves some level of delving into their own understanding of a character, often finding something personal to relate to or empathise with. Most performers remain in the industry because they love what they do, fully realising that for many it will never lead to a solo spotlight or fame and fortune. All of this rings true on A CHORUS LINE, making it relatable for those close to the industry and enlightening for those outside of it, hopefully raising a better awareness of the need to support live performance and support proper remuneration for artists' work.

https://www.sydneyoperahouse.com/events/whats-on/musical-theatre/2022/a-chorus-line.html

Photos: Robert Catto

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